Who Gives a S#!t?: My Music Picks for 2014

Too exhausted for pithy intros.

For most of the year I was still wrapped up in a pop wonderland, so I'm sure there are some gems that've been missed. But as someone who habitually shuffles through 24,000+ songs on an iPod Classic (what of it? they're worth money now), it's seldom that I become obsessed with hearing a record in its entirety. Over and over again.

That's pretty much the only criteria I used in choosing my Top 10 Albums of 2014. Enjoy.

UPDATE: How did I ever miss Eyehategod? Also, the Tokio Hotel record is garbage. What did they do to you, Bill?

Best of 2014 (in order, based on how many times I spun the record straight through):
1. Cold World - How the Gods Chill
2. The Afghan Whigs - Do To the Beast
3. Rancid - Honor Is All We Know
4. Mastodon - Once More 'Round the Sun 
5. Run the Jewels - Run the Jewels 2 
6. Godflesh - A World Lit Only by Fire
7. Behemoth - The Satanist
8. Ghostface Killah - Twelve Reasons to Die 
9. Eyehategod - s/t
10. Pallbearer - Foundations of Burden
 
Pretty Damn Good:
Against Me! - Transgender Dysphoria Blues
At the Gates - At War With Reality 
Exodus - Blood In, Blood Out
Youth Code - A Place to Stand EP
Finch - Back to Oblivion
Lana Del Rey - Ultraviolence
Vance Joy - Dream Your Life Away

Have yet to listen to these artists' latest records: Swans, Tokio Hotel, Shellac, Ex Hex, TV on the Radio.

Postscript: I will never, ever, ever, ever, ever get into Taylor Swift. Basic pop music has never suited me.

Best Shows of 2014:
Motley Crue @ Madison Square Garden - Though the set list was better when I caught Crue's Las Vegas residency, there was nothing like sending off the geezers at the most befitting NYC venue of them all.
Godflesh @ Irving Plaza - This was an experience for all senses, including the vibrations it swept through my body. Loudest show of the year that left me physically spent.
King Diamond @ Best Buy Theater - The double-decker stage, replete with gates! The actors! The light-up upside down crosses and pentagram! King's live show was like everything all concerned parents assume metal shows are like. READ this take on it.
Infest @ the Well - Seeing the underground icons plow through their discography was eye-opening; and a good hang (thanks for the ticket, Richard!).
Gorilla Biscuits @ House of Vans - Every summer there's one magical show where you get to see all of your friends, meet some new ones and enjoy some old-school hardcore. This was it.
Bonus: Pussy Riot @ Vice 20, Brooklyn Navy Yard - It was an honor to be in the presence of these blunt, independent Russian women (who are willing to risk their lives for their expression) as they covered riot grrl darlings, Le Tigre.

JAM

In Defense of South by Southwest

We're in the throes of South by Southwest season and surely if you're in some way a music or media fan (or check social media even occasionally), reports about it are pretty hard to ignore. And in more recent years, people have actively started to make an armchair sport of mocking how overblown and commercial SxSW has become.

Yes, it IS incredibly commercial. I roll my eyes every time I read an insane announcement about how the iTunes Festival is setting up shop and bringing Coldplay and Pitbull. It totally tickles me to think about Lady Gaga playing the Doritos stage, which in past years has been modeled to look like a giant vending machine. And please believe I'd pay to have access to a Judge stage-dive cam for their throwdown for Converse.

But you know what? I'd still go back in a second if it fit into my schedule. My experience with the Austin-based culture extravaganza extends only to attending the music portion several times over. I've never really done the tech or movie parts (despite having access) because of time constraints and to spare the health of my liver and kidneys.

Here's the thing, though: in all my many years of going, I've never had a bad time. Whatever type of music you're a fan of, you'll likely find it. There are literally thousands of artists that descend upon the city for your entertainment. And you have the nerve to complain that these acts are picking up some corporate exposure along the way?

Sure, my experience is biased as a member of the press. I've never had to load in or find parking around closed streets flooded with jaded day-drunks. (FYI: I'm saving all my intoxication, band and make-out stories for the inevitable book.) But are you seriously willing to tell me that hanging outside in (usually) warm weather, drinking a free beer while watching an endless array of bands is a BAD thing? Buddy, you've got problems.

So after reading and hearing so much dumb smack-talk over the last few years, I present my reasons of why you should stop complaining about SxSW.

In Defense of SxSW in Five Gripes:

Ooh, SxSW is So Lame! When Have I Gone? Never
Those who actively denounce SxSW but have never attended can just step over to the left and STFU. It comes off petty. All that shit-talk sounds like embitterment because you've never been connected, adventurous or intrepid enough to make your way in. Hell, even without any kind of pass, bracelet, credential or guest list, ANYONE can catch free music, eat (good) free food and drink free beer if you resolve to get in the thick of it and show up in Austin.

Not Liking SxSW is Kind of Un-American
Think about the tenets this country and the Peoples Republic of Texas are founded on: loud music, ever-flowing beer, cool breezes and seared meat. Guess what? That's pretty much what you're in for at SxSW. And since Austin is home to Whole Foods, chances are there will be a veggie option. You're going to tell me that this is a TERRIBLE proposition? Time to move to Canada and attend NxNE instead.

There's No Discovery Because People Are Busy Watching A-List Acts
Sure, your editor might expect you to cover the huge marquee performance, and that might conflict with the set time of the new band you're dying to check out. Luckily, said unknown band probably has five gigs at SxSW, so you can do BOTH. Or if you're not obsessed with being the humble-bragger, pick a lesser marquee act that you've always wanted to see but haven't. A few years back when Metallica was headlining Stubb's, I decided to go check out Devo for the first time and my mind was blown. Then I probably went off to see some metal band stomp all over Emo's.

There are literally opportunities to see music each day from noon until 4am - day party to after party - the great alpha and omega of South by Southwest. Even without trying hard, I've probably caught 35-50 acts per trip, with plenty of eating and schmoozing in between. Remember the time there was a Profound Lore showcase, followed by a jaunt to see Panic! At the Disco before grabbing a Sausage King dog and hopping in a pedi-cab to see Eyehategod and Pentagram play a huge field? I fuckin' do. That was also the same day I caught The Kills and Havok back to back. Yes, folks, you CAN see it all.

It's Way Too Commerical
In a one-block radius, I once scored Mountain Dew sunglasses, a remarkably soft Rolling Stone T-shirt to sleep in and a much-needed chicken burrito from a truck with Danny Trejo's visage and the Shady Records logo painted on it. Why? Why the hell not!? It was there and marketing is everything. Might as well suck on that teet and save your food money for drugs and bartender tips.

SxSW is Too Impersonal
Ooh, I can't get into this panel and see my favorite NPR commentator or the kid I know from Twitter.... I'm gonna call bullshit right here. Since Austin is smack-dab in the middle of the country, people from LA and NY (and all those other places in between, even from across the world) attend, making it a wonderful place to rub elbows with tastemakers, potential employers and the dorks you had flame-wars with in the Geocities days.

Still not convinced? Not much more I'm willing to say. But at least do yourself a favor and live through SxSW once before shrugging it off. As Albert Einstein put it, "The only source of knowledge is experience."

Zena T

PS: Want to see who've I've seen? Some SxSW galleries HERE and HERE.

The only source of knowledge is experience.

Albert Einstein

Read more at http://www.brainyquote.com/quotes/topics/topic_experience.html#OZAeolY4KRZi5v1V.

The Slipper Room is Open For Metal

The Slipper Room circa 2006; photo stolen from Flickr user CocteauBoy

Everyone who visited the Slipper Room had a good time. When it opened in 1999, the Lower East Side lounge was on the forefront of the burlesque movement long before it became a "thing." Over the years, I attended some pretty ridiculous blowout birthday parties and private industry events there—not to mention one lesbian bachelorette party during which a striptease dancer performed a stunning interpretation of her infatuation with a Mr. Potatohead figure.

But it was really more than just burlesque; the Slipper Room also featured fringe comedy, all sorts of acts that could fit under the "variety" banner—with a fine overlap of the Coney Island Circus Sideshow demographic. It also didn't hurt that I was friendly with the bartenders and we shared close friends who I'd meet there often, so on any ol' Friday night, you could find me on Orchard St. drowning my frustrations in vodka sodas and pasties between puppet acts. Good goddamn times.

Those fond memories were muddled when I passed by the location recently (Slipper Room shut down in 2010) to find that the building had been demolished and a new structure built. That is until a press release came through my inbox announcing a new two-story Slipper Room space at the same address, promising to be one of the only prospective new venues for live music in Manhattan.

The part that really perked up my ears?

"The Slipper Room will feature a wildly diverse range of weekly and monthly acts, including four weekly variety shows produced by co-owner James Habacker with top performers from around the world, accompanied by a live band each night. The line-up will be bolstered by the expanded role of co-owner and music entrepreneur Peter Shapiro (Brooklyn Bowl, Wetlands, Capitol Theater), who will curate an exciting lineup of musical artists, from rockabilly to heavy metal."

No shows are currently listed on the Slipper Room's site, though it wouldn't be surprising if a few CMJ shows were booked there. And as excited as it was to read about an installation of new fly rigs for acrobats in the space—as well as a new sound system—I hope it doesn't automatically make all the drinks cost $15.

For more on the Slipper Room, hit up their site.

The Power of the Riff Heads East

After three years of hammering away at the West Coast, Southern Lord's The Power of the Riff Festival is making its East Coast debut at Brooklyn's Warsaw this weekend (September 1 & 2). Much like the kind of finely-curated roster we've come to expect from a label that specializes in all things downtuned and acerbic, the fest will feature some of the heaviest acts around today. And since it's New York—plenty of local flavor.

Headlining the two-day event will be Pentagram (set to perform their '80s-era hidden gem, Relentless in its entirety), local legends Agnostic Front—who'll be running through Victim in Pain and United Blood, Negative Approach, Sunn0))), Winter, Repulsion and Double Negative. And though Poison Idea were forced to drop off for medical reasons, MA's Hoax have stepped in to replace them.

Rounding out the bill are buzzed-about up-and-coming bands Xibalba, Coffinworm, Power Trip and a slew of others. It should be interesting to see how the juxtaposition of doom-heavy headliners and hardcore legends balances out, along with the turnout for Pentagram, who are currently basking in the attention of their new well-received documentary, Last Days Here.

For tickets and merch options, check out thepoweroftheriff.com. See you there.

The Metal Suckfest Hits NYC This Weekend

My bros at MetalSucks.net are throwing their inaugural full-scale music festival, The Metal Suckfest.

Set to go down this weekend at New York City's Gramercy Theatre, the two-night affair will feature headliners Municipal Waste and Cynic, plus heavyweights like God Forbid, Today is the Day, Obscura, The Red Chord, Black Tusk, Fight Amp and a ton of others.

And unlike most music festivals, this one won't leave you without weed money. Get tickets now, or pick them up at the door. I expect to see y'all there for the cred alone. #mosh

For more on the Metal Suckfest, check out their site.

Three Songs Perpetually Stuck in My Head

This one's pretty self-explanatory. Songs get stuck inside my head all the time - everything from old PSA jingles to Top 40 songs I don't remember consciously listening to (ah, the gift and the curse of the day job). But the following three are my brain's go-to's. With good reason.

1. Dead Weather's "The Difference Between Us" - the hottest psycho chick song of all time.


2. Turbonegro's "Stroke the Shaft" - probably the worst instructional handjob lyrics in the history of the act.


3. Led Zeppelin's "In the Evening" - greatest slide riff EVER.

American Hardcore

When Steve Blush's acclaimed book American Hardcore: A Tribal History was first published in 2001, no one could have imagined the minute subdivisions in music and subsequent bastardization of the genre's suffix that were to come. (I mean, really, crabcore?) The oral history recounts days of raw punk rock created as a response to the bleak world view of the Reagan years, not an era of vapid self-absorption and auto-tune apps. Which is why the tome's new second edition—replete with 80 pages of new material—couldn't have come at a better time.

Chronicling the '80s punk scenes in NY, LA, DC, Boston and beyond, the narratives of the bold-faced names who lived through it all are quilted together so methodically by Blush, you can almost feel the boot kick to the chin as you read them. Several anecdotes from grandfathers Biafra, MacKaye, Graffin, Danzig and Rollins are included, as well as juicy nuggets from countless other name-check worthy scenesters. From the early days of SST Records to CBGBs legendary matinees, the chapters lay bare rivalries, drug abuse, infighting and all the other rituals native to these collective tribes.

Along with the new edition of American Hardcore, a Web site for the book has been launched with a pretty cool feature—24 Hours of Hardcore—essentially a giant compilation of streamable songs from virtually every punk band that came out before 1987. From 100 Flowers to Zero Defex, all 911 songs are there. Go get them. And while you're on the site, get info on Blush's promotion tour dates that include a stop at NYC's Strand bookstore on December 15 featuring a panel discussion with Dave Smalley and Laura Albert (JT Leroy).

And if you're feeling even more literate and belligerent, seek out .45 Dangerous Minds, a collection of articles from Steve Blush's and George Petros's legendary Q&A-only music magazine, Seconds. A huge inspiration during my early fanzine-obsessed years, the guys weren't afraid to ask brutally frank questions to get often shockingly revealing answers from controversial figures like David Bowie, Anton LaVey, Buddy Miles, Rob't Williams, Wino, James Earl Ray, Rahowa, the Factory Family, Varg Vikernes and many others.

Simply put, buy these books.

And with that, here are some "D.E.A.D.R.A.M.O.N.E.S." from a band that would surely make American History, Pt. 3.

Play us out, Modern Life is War!

My Top 15 Concerts Of 2009

Ultimately, 2009 will go down as the year I got to see a myriad of acts who've helped shape my psyche and meant so much during various stages of my life. A few performances (the Jesus Lizard, St. Vitus) were damn-near transcendent; others—like Nine Inch Nails' and Ratt's—reaffirmed my love for the artists. And some, like Rancid and Mehtallica, were pleasant enough but didn't arouse any particular emotions.

In total, I managed to see Young Widows and Earthless the most at four shows each. I also caught Brutal Truth and Bang Camaro three times apiece. Not sure what that say about me, exactly. But without further ado, here are my favorite shows of 2009, plus two newer artists I was really impressed by.


In Order Of Awesomeness:
The Jesus Lizard @ Irving Plaza - By far, the most impressive show of the year. I found myself wondering what life would have been like if I started listening to Goat instead of Metallica's Black Album as a teenager. [Set list above.]

Devo @ Austin Music Hall - Watching Devo perform in the last year of the ought decade, all I kept thinking about was how avant-garde they seemed here and now, much less during their early '80s heyday. Astounding visual show.

Nine Inch Nails @ Terminal 5 - I'd almost forgotten the love I had for NIN for over half my life until I saw Trent & co. destroy this warehouse of a venue; the Peter Murphy cameo was just gravy. Thank you for waving goodbye in high style.

Ratt @ Nokia Theatre - It was almost worth the 25-year wait to see my beloved childhood icons perform their debut album, Out Of The Cellar, in its entirety.

St. Vitus @ Europa - Truly, this was a bucket list moment for any true stoner rock fan. America's most revered (yet underrated) doom icons put on a better show at Europa than they did at this year's Roadburn festival. Guitarist Dave Chandler and Wino have never sounded better.

Gallows @ Latitude 30 - Led by lithe angry ginger Frank Carter, the Gallows is the most volatile, dynamic hardcore band around today. They're probably the only group I'm willing to see knowing I risk getting kicked in the head by one of its members.

Mastodon @ Irving Plaza - With a perch near the sound board, I had the perfect vantage point to see my Atl buddies perform their latest opus, Crack The Skye, in all its symphonic glory. The visual show, combining CGI and early Russian art films, further enhanced the experience.

Tom Jones @ Ruth Eckerd Hall - Half of what made this show so amazing was the fact that I saw it amongst nearly every geriatric and post-menopausal woman in Tampa Bay, FL. And those bitches went crazy each of the many times Tom girated his pelvis! Panties of all sizes went flying during "What's New, Pussycat?"

Cursive @ Bowery Ballroom - On the eve of Mama, I'm Swollen's release, I caught this intimate show from Tim Kasher and co. and left feeling a cathartic release. With healthy helpings of tracks from the last three albums, the performance was utterly sublime.


Pat Benatar @ Asser Levy Park - This free show at the Coney Island beach-adjacent park was a hilarious summer experience. Sitting on blankets and sipping booze out of Snapple bottles amongst south Brooklyn locals, hipsters and oldsters while listening to Benatar belt out hits like "Invinsible" and "Promises in the Dark" was incredible.


Hank III @ Music Hall of Williamsburg - Folks get their money's worth when they attend a Hank III show. Not only does the country scion put on a honky tonk set, he also includes a hellbilly review and closes things off with a metal set not recommended for the faint of heart (or at the very least, those who are squeamish about seeing vocalist Gary Lindsay bleed from the head). A birthday shout-out at the stroke of midnight before III launched into "Life of Sin" was an amazing gift.


The Sword/Year Long Disaster @ Bowery Ballroom - The Sword have come to be synonomous with my late friend, Erlene Zierke. We were all set to see them play at Lenny's in Atlanta the night we found out she was gone, and in her spirit all tearily attended the show. Then their turn in NYC this past January coincided with her birthday. Seeing them, and my old friends in Year Long Disaster was nostalgic, but in the the warmest way.

Young Widows @ Emo's - The combination of a good venue, fantastic lineup (it was a Brooklyn Vegan/SxSW event) and an energetic crowd—not to mention the Widows' tight, cogent sound—made this my favorite set of theirs of the many I'd witnessed in 2009.


Earthless + J Mascis @ Habana Calle 6 Annex - Earthless are pretty goddamn dope on their own. Add Dinosaur Jr.'s J Mascis into the equation, and you've got a psychedelic, head-nodding experience made even better with a belly full of Iron Works BBQ. Bonus: watching Mario Rubalcaba play drums.


These Arms Are Snakes @ Shea Stadium - Arty, loud, noisy, visual, layered. These words barely begin to describe the evocative, glorious noise that came out of this half-assed art gallery's sound system during TAAS' tumultuous set.


Two More To Grow On:
Krallice @ The Studio at Webster Hall - They absolutely blew headliners Wolves in the Throne Room off the stage with their Voivod-inspired metal sound.

Orphan @ Union Pool - This duo remind me more of a garage-rock Black Cobra than they do De Stijl-era White Stripes. The shit was gully.

For visual records of these shows plus a ton more, check out my Live Shows Flickr set. Jesus Lizard set list photo stolen from Brooklyn Vegan.

Perfect Albums: Live

After spending my weekend in awe of Mastodon's complete Crack The Skye live performance—and reading about ATP New York 2009's plans to have several bands perform respective classic albums in their entirety—I began thinking about which records I'd love to see performed live.

The following Top 10 albums are listed in no particular order and are there for my own sonic amusement—picked for their superb tracking, ability to transition well to a live stage and, most importantly, the probability of the event actually happening. I'm always open to hearing other peoples' selections, so please comment back with your choices. And for more Mastodon pics, come over here.

1. Afghan Whigs - Gentlemen



2. Monster Magnet - Dopes To Infinity

3. PJ Harvey - To Bring You My Love

4. At The Gates - Slaughter of the Soul

5. Carcass - Necroticism...

4. Cursive - The Ugly Organ

5. Nine Inch Nails - The Downward Spiral

6. Deftones - White Pony

7. Eyehategod - Take As Needed For Pain

8. Concrete Blonde - Bloodletting

9. Faith No More - The Real Thing (Hey, it was good enough for The Sword!)

10. Rancid - Let's Go

SxSW Countdown

It's 27 degrees in NYC, there's been a dire lack of good shows (though this week's Witch/Earthless/Children and Bloody Panda/Wetnurse extravaganzas might placate me) and I miss actual, good Southern food. Time to head to Texas.

And while this year's SxSW headliners (Metallica, PJ Harvey, Devo) are more nostalgic than cutting edge, there is one party I am most definitely looking forward to: HIGH TIMES' 2009 Doobie Awards show.

OK, technically, you do have to pay to get in—even with a badge—but, what you do get is two stages filled with some amazing bands, FREE beer, and some other fun stuff you know HT wouldn't do without. And, there may just be a surprise or two... the kind of epic, reunion surprise you can definitely brag about and get stoner rock cred for experiencing. Trust.


(CLICK ON THE FLYER FOR LARGER VIEW)

I'll be twittering and blogging for 420.com (HT's "everything but the weed" lifestyle site). Follow me!

CMJ: Day One + TMI

I'll admit it: I refuse to get on Twitter because I'm a habitual, unabashed drunk texter and the last thing in the world I need to do is put it on blast. Also, who gives a fuck what you're having for lunch? Because of this, those precious moments and serendipitous events I experience daily running around NYC go unpublished. Imagine that, fellow narcissists!

Since yesterday was one of those fun, active ones, I figure I'd let y'all in on a day of my dumb life:

8:00 am: Wake up groggy, post-Conflict of Interest to the sound of jackhammers and my kitten, Ava, meowing for a playmate.

9:30 am - 11 am: Email folks in Milan about the Cut&Paste/55DSL project I'm working on. Wonder what the time difference is with Hong Kong so I can avoid panic attack.

11:30: Reviewing Young Widows questions for Decibel interview later. Listening to catalog helps.

2:30 pm: Print out CMJ itinerary, interview questions, grab recorder and head to a friend's office. Since I don't have a land line and haven't figured out how to record calls on Skype, I rely on some Shady friends.

2:50: Walk out of Canal St. station to spot Chris March, the heavy-set drag-queen friendly designer from Project Runway, Season 4. Try to make eye contact so I can give acknowledging nod. Refuse to say hello, I am a real New Yorker.

2:55: Arrive at Shady Records; Good thing I've been here before so I know the drill. Knock on metal door and await the giant bodyguard inside to slide open the built-in eye-level slit to see who's there. Speakeasy style, all the way.

3:00: Thank my accommodating pal for letting me use space; set up residence in their vast conference room, surrounded by tons of multi-platinum awards from Eminem, 50 Cent, Dido and G-Unit. It's almost like Lloyd Banks' eyes are following me from his giant framed plaque.

3:00 - 3:25: Interview Evan from Young Widows. Seems more mellow than I expected. I threaten to see Yngwie Malmsteen on Sunday instead of them if they don't play my favorite song of theirs, "Bruised Knees" from their debut, Settle Down City. He remains undeterred.

3:45: Head out, free Vitamin Water in hand, to pick up CMJ badge at a church adjacent to Washington Square Park. Text with Tessa about parties and shows to hit.

4:10: Pass by a homeless woman on 14th Street holding a sign that says "Live Politely." Wish I had a camera; more so, wish people would follow her suggestion.

4:15: See a ton of star trailers and a Panavision truck parked on 3rd Ave. Thank you for helping NY's economy!

5:00-7:30: Pore over invites, materials, emails and determine I'm only going to go the 1000 Knives showcase at Fontana's.

10 pm: Arrive at Fontana's and debate drinking. Start with water before heading to Whiskey town. Soon after, the show "sells out" almost immediately while we queue up to get bracelets. Luckily, my CMJ badge gets me in moments before Seattle's Akimbo take the stage. Not surprisingly, their sound and stage show is reminiscent of their former tour mates, Young Widows. Wonder who did it first? Either way, they play a tight set of rumbling post-hardcore and impress the packed crowd.



12:45 am (?): How do I know Trash Talk are on? I literally feel them rumbling beneath my feet as I stand upstairs getting some air. Head downstairs to find a giant mosh pit has pushed the crowd back. Considering this is their third show of the night, they pack a ton of energy into their short but sweet hardcore set.



1:30-ish: The much-anticipated Bronx are about to take the stage and the place is packed. I always wondered if this LA-based band named themselves after New York's second-worst borough or the eponymous gay sex shop in Amsterdam. Either way, I've always been a fan of their records, but found them boring live both times I've seen them play. Hate to say it, but this raucous gig is changing my mind. Starting out with "White Tar" before launching into "Knifeman" from their forthcoming third album, singer Matt Caughthran acts like the white drugs enthusiast he claims to be, jumping into the audience, falling to the floor and delivering the goods to the rabid audience with his intense performance. Finally, a gritty trash rock band is here to reclaim the throne for LA.



2:30: Find a cab and head home. Note that this truck is probably bigger than my kitchen and I can almost stand up straight in here. Damn, I'm short.

3:15 am: Pass out and wonders what tomorrow will bring.

CMJ: Day 0

CMJ, the war-horse of music conventions, has definitely lost some luster over the years to other conferences like South by Southwest. Still, there's a wonderful tradition of CMJ hosting indie and hard rock bands—and I intend to see as many as I can this year. Hopefully, my brain and body will hold up.

And, per tradition, The Syndicate hosted their 10th annual Conflict of Interest pre-party last night to kick things off. Packed beyond belief, the three-story party held at Rebel (the space formerly known as Goth haven, the Bat Cave) was an excellent first stop to catch up with friends who just arrived in town (Tessa!!), figure out this week's hot shows (yes, I will be at The Bronx tonight) and run into a bunch of unexpected old pals.

I have a theory that most people remember me because I have a weird name (and I've been in the scene forever). So it's especially anxiety-inducing when someone shouts out: "Hey Zena, do you remember me?" and I don't. My usual response if I have no clue is to tell them I probably smoked that memory away, and ask for something to jog my memory. In the case of the man-panions below, Patrick (L) responded: "Yeah, we met at Philly Con. I had a black eye." And that's all it took! [Note the black eye below from that fateful meeting.]



In addition to all the booze, old friends, bathroom lines and free shoes, some artists also played. Anyone remember Rival Schools? Walter Schreifels' post-Quicksand band played, as did ...And You Will Know Us By The Trail of Dead, who put in a tight performance. And their old manager (and dare I say, my old protege), Josh, being there only made the show that much more special.

But along with the good, comes the bad. In this case, "bad" consists of ongoing early morning construction work outside my apt/home office. Nothing like going to bed drunk at 3:00 am only to wake up to the sound of jackhammers at 8.

This is going to be a long week...

Where Are All The Protest Songs?

Here we are in the homestretch of one of the most important presidential elections in American history and one thing I find very odd is the lack of any meaningful protest songs. I remember seeing an interview with Lamb of God's Randy Blythe in which he predicted this year would be akin to the late Reagan era—a time when punk rock bands flourished with displeasure at the direction the country was going in. Remember Black Flag? The Dead Kennedys?

And what have we had the last couple of years? Green Day? The much-maligned Dixie Chicks? Old standbys like Steve Earle and Neil Young? Good thing they're still willing to express themselves, but I must say I'm very disappointed in the majority of this nation's troubadours and rabble-rousers. Sure there are other exceptions, like Against Me! and Anti-Flag, but why aren't this nation's more well-known artists getting in on the act? Yes, there are plenty of celebs running around in Obama T-shirts, but does that seep into our consciousness in the same way? You definitely can't dance to it.

Ironically enough, I blame blogging for all this. Maybe in this day and age, it's simply easier to sign into one's Blogger account and type away, or record an "Obama Girl" response video for YouTube. And then there's my Rock Band theory: no one is learning to play real music anymore because they're too busy figuring out how to play Black Sabbath's "Paranoid" on those dumb-ass color-coded Fisher-Price-looking Les Pauls.

Whatever the reason, the result is the same. Our country is in crisis, and no one wants to sing about it.